In Dry Lips Oughta Move To Kapuskasing, Dickie Bird serves as a vehicle through which Highway expresses his opposition to the gradual decadence of the Native culture. Using intense imagery and symbols, all culminating in a gruesome rape scene, Highway effectively illustrates his message.
In the drama's horrific climax, two profound, yet opposing symbols come together: the crucifix and Nanabush. Dickie Bird uses a cross to rape the woman; a symbol of Christianity: the essence of western civilization. His victim is Patsy, the only character who still truly rejects Christian beliefs for the traditional Native culture. In the scene, Nanabush actually appears as Patsy. The point is therefore further emphasized since Nanabush is a central idea to Native life. The horrendous act reveals Highway's point; it shows the western culture raping the Native one. Although Dickie Bird is seen physically, sexually assaulting Patsy/Nanabush, the meaning of rape is far more figurative. The result is Dickie Bird himself: the symbolic product of the "rape.".
Highway creates Dickie Bird's ultimate breakdown in the rape scene, though the boy's delusion mounts throughout the entire play. Much like Zachary is in search of his shorts, or Pierre of his skates, Dickie Bird is desperate to find his biological father, a pursuit having much more human value. In other words, Dickie Bird searches for an identity.
Proportion is off, with relation to the emphasis of the head, and there is variety with the textures, such as the rough wooden crutches, the head appearing soft, and the lips appearing dry and chapped. ... The chapped dry looking lips are another direct hint to sleep. ...
Proportion is off, with relation to the emphasis of the head, and there is variety with the textures, such as the rough wooden crutches, the head appearing soft, and the lips appearing dry and chapped. ... The chapped dry looking lips are another direct hint to sleep. ...
Dry, crusty, purple toned lips stand out from the rest of her face. ... The lady's lips were next. ... Before applying her lip gloss, she runs chapstick all over her dry mouth. Over the lip balm, she glosses her lips with a pinkish mauve color. ... In addition to all the layers of lip balm and gloss, she takes out a lipstick and glides it over her lips. ...
The valley, which can range from a dry or moist savanna in the north to grassland in the south, offers an extensive range of subsistence in that unique region. ... When a girl reaches about fifteen or sixteen, her mother cuts her lower lip. ... There are about three main misinterpretations about the significance of the lip-plates. ... Second, the lip-plate is also misunderstood by believing that the Mursi forced their women to stretch their lips to look undesirable for slave traders. Third, many seem to believe that the lip-plate is a symbol of adulthood. ...
First they have a dry cough then the cough later brings up green and yellow mucus. ... At first the cough is dry and racking and eventually becomes phlegmy. ... The chronic bronchitic with no emphysema tends to be overweight and often has a bluish tinge to his or her lips due to lack of oxygen. ...
In Aristotelian thinking, the different roles were associated with the elements, such as hot, dry, cold, and wet. ... In the early Aristotelian thinking, "Age was understood as both a drying and a chilling process", and thus old men were considered cold and dry (Wiles 152). ... "During this time, the mask of the old man became increasingly grotesque, so that his lips, nose, and brow are scarcely distinguishable from those of a slave" (Wiles 154). ... The slaves, in Aristotelian thinking, were considered hot and dry. ... In later slave masks, the top of the beard overhangs the lips, which c...
In Aristotelian thinking, the different roles were associated with the elements, such as hot, dry, cold, and wet. ... In the early Aristotelian thinking, "Age was understood as both a drying and a chilling process", and thus old men were considered cold and dry (Wiles 152). ... "During this time, the mask of the old man became increasingly grotesque, so that his lips, nose, and brow are scarcely distinguishable from those of a slave" (Wiles 154). ... The slaves, in Aristotelian thinking, were considered hot and dry. ... In later slave masks, the top of the beard overhangs the lips, which c...
